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    hipstercrite says

    My true Hollywood story: The life and near-death of a Tinseltown personalassistant

    Lauren Modery
    Dec 18, 2011 | 10:37 am

    I used to work in Hollywood — as a personal assistant. Sometimes it seems like a dream, my time there. A forgotten dream only triggered by a minor chord or someone else's love letter to Los Angeles. By songs or films that I relate to but that are not my story. Sometimes I drift off in a cloud of romanticized musings of things I did not experience.

    It's much easier to recall your time in Hollywood like one would a movie, giving your story a narrative when in reality, while you were experiencing it, there was no voice guiding the way.

    I meet a lot of young people in Austin who want to move to or are about to move to LA. My initial reaction is to dispense un-requested warning, to give them a knowing nod that says, "Been there, done that. Good luck, child."

    As I stand there pinching that thought at the bottom of my esophagus, a second feeling floods in —a feeling triggered by the reminder that, at one point, I wanted to move to LA, and I did move to LA. I believe that every person who has an interest or desire to move to Los Angeles (or anywhere for that matter) should do it while they still can. It could end up being a good choice or a bad choice, but either way — it was the right choice at the time.

    I believe that every person who has an interest or desire to move to Los Angeles (or anywhere for that matter) should do it while they still can. It could end up being a good choice or a bad choice, but either way — it was the right choice at the time.

    The truth is, whatever time you spend in LA is completely invaluable. No amount of how-to books or film school can teach you what LA teaches you. Whether or not you "make it" there, you will walk away with a surplus of knowledge. Because of this, I do not regret one second of my years in Los Angeles.

    I moved to LA at 20 after being offered a job to work at a celebrity's small production company. (A celebrity that this film lover, since childhood, was a huge fan of.) I remember the moment I was offered the job perfectly: I was interning at the celebrity's company while on a semester in Los Angeles. Towards the end, they asked me if I wanted to work there. I looked at them like they were nuts.

    "You know I have no experience in Hollywood, right?" You'll learn, they assured me.

    "You know I'm 20 years old, right?" You'll do fine, they said.

    But I still had college to finish, a boyfriend, friends and family at home! I knew this was a once-in-a-lifetime opportunity and that the life I knew was about to change forever. I told them I would give them an answer the next day as I mentally prepared myself for how to tell my parents.

    As I drove down La Cienega Boulevard convincing my mother that leaving college and moving to LA was the best choice for me, The Beatles' "I Want You (She's So Heavy)" came on over the radio. I neither care for The Beatles nor remember what song is playing in most pivotal moments in my life, but that moment and those lyrics I will never forget.

    Tying up loose ends

    I immediately flew home to tie up loose ends. It was an awkward three weeks of the unraveling of my relationship with my boyfriend of four years, explaining to my college what I was doing and trying to spend as much time with my friends and family before I moved to California for good. While my mother and I were shopping for clothing at the mall, the actor I was to work for called me to welcome me aboard.

    I remember running into a dressing room, locking myself in and not hearing a word of what the actor was saying. The whole time I was thinking, "Why is he talking to me? How did I get here? This is not my beautiful house!" I moved to LA soon after and promptly spent my 21st birthday alone in a city I knew nothing about.

    LA was tough, I'll admit. I didn't know anyone, and I was working long hours. I worked for team of very serious players, and I did my best to keep up with them. My small-town upbringing didn't equip me with the tools for maneuvering on such a playground, so I spent most days in a perpetual state of confusion, frustration and loneliness.

    I tried with all my might to stuff those emotions away, while an angry version of me quickly formed a layer over my previous self. The first time my mother came to visit me, she left in tears. "I don't know who you are anymore," she said. Her words bounced off my newly formed hide. I was going to make it in Hollywood — as what, I didn't know — but dammit, I was going to make it.

    I went to film festivals throughout the country, film premieres, private parties, ate dinner with celebrities and got to experience moments I never could have imagined for my small-town self. This kid from the middle of nowhere was in the middle of it all — and ignoring the fact that she was slipping away.

    I was reminded of why, since I was a little girl, I wanted to work in film. It had nothing to do with Bluetooth headsets and power meetings and being strapped for time and stressed. It had everything to do with creating, something I hadn't done once in the five years I in Los Angeles.

    At 22, I glamorized my therapy sessions with grand notions of owning a glass house in the Hollywood Hills. "A glass house," I told my therapist, "where I can look down upon the city and where I touch no one and no one touches me."

    Maybe my therapist thought I stole that line from Crash, but the cliché is true. All of it was true. A culture of detachment. My therapist didn't know that at night I drank until I fell asleep. It didn't take much for the wave of calm to carry me away from the denial; I was utterly and completely unhappy.

    So I lived this way for five years until one day, while in production in Chicago, I woke up and realized I was done. That the fast-paced, time-is-money mentality was not for me. At the end of each night, I sat staring out of my apartment window drawing the Chicago skyline. In doing so, I was reminded of why, since I was a little girl, I wanted to work in film. It had nothing to do with Bluetooth headsets and power meetings and being strapped for time and stressed out. It had everything to do with creating, something I hadn't done once in the five years I lived in Los Angeles.

    I told my boss that I was leaving and, after months of getting myself to commit to that idea, I drove away from Los Angeles for good.

    And now I work in a completely different film industry, the one that exists in Austin — light years from the cacophony of Los Angeles. Here people are happy. Here, I've been able to meet and work with incredible folks. Here, I've been able to stretch my wings and no longer be confined in the role of someone's caretaker. I've been able to evolve into the artist and person I wanted to be. Looking back, I don't even think I was a particularly outstanding personal assistant, because deep down I knew I didn't want to help others to create, I wanted to create myself.

    A friend recently told me that Los Angeles is not the sort of place you move to to find yourself, it's a place to move to after you've already found yourself. He couldn't have worded it more perfectly. Now that I have found myself, I feel that I would be able to tackle Los Angeles the way I wanted to tackle it when I first moved there as a bushy-tailed kid. But why would I want to?

    unspecified
    news/entertainment

    Awards Season

    CultureMap critic's guide to the 2026 Oscar Best Picture nominees

    Alex Bentley
    Jan 22, 2026 | 2:00 pm
    Michael B. Jordan and Miles Caton in Sinners
    Photo courtesy of Warner Bros.
    Sinners leads all films at the 2026 Academy Awards with a stunning 16 nominations.

    The nominations for the 2026 Academy Awards have been announced, with 10 films vying for Best Picture. Leading the way is Sinners with an astonishing 16 nominations, the most in Oscars history.

    The other top films include One Battle After Another, which earned 13 nominations, and Marty Supreme, Frankenstein, and Sentimental Value, which each got 9 nominations.

    As a refresher, below are links to the full reviews for each of the nominees covered by CultureMap in the past year, as well as brief thoughts on the films and their various nominations.

    Movie fans will have plenty of time to catch up with each of the nominees, as this year's Oscars ceremony will not take place until Sunday, March 15.

    Here's the list of Best Picture nominees, in alphabetical order:

    Bugonia
    Yet another off-the-wall film from director Yorgos Lanthimos features two great performances by Emma Stone (nominated for Best Actress) and Jesse Plemons at its center. Written by Will Tracy (nominated for Best Adapted Screenplay), the conspiracy theory film is alternately brutal and funny as the characters played by Stone and Plemons use their form of power to try to manipulate the other. With a fair amount of intrigue and two great actors going head-to-head for much of its running time, it gives even more Oscar pedigree to its filmmakers and stars.

    F1
    The biggest surprise among the Best Picture nominees has to be the racing movie F1. It was a technical marvel, to be sure, as its nominations in Film Editing, Sound, and Visual Affects attest. But the fact that it has no other nominations in any of the above the fold categories indicates that its other qualities are lacking. As a showcase (aka advertisement) for the sport it depicts, the film works relatively well. As a complete movie, though, there’s not much to recommend, to the point that it almost negates any of the positives that come from the racing scenes.

    Frankenstein (not reviewed)
    Writer/director Guillermo del Toro (nominated for Best Adapted Screenplay) loves himself a monster movie, and he takes on one of the classics with his new version of Frankenstein (now streaming on Netflix). Oscar Isaac plays Victor Frankenstein, who brings to life The Creature, played by Jacob Elordi (nominated for Best Supporting Actor). With a slew of nominations in technical categories, there's a chance this film goes home with a lot of awards at this year's ceremony.

    Hamnet (not reviewed)
    Writer/director Chloé Zhao (nominated for Best Director and Best Adapted Screenplay alongside co-writer Maggie O'Farrell) gets back to her Oscar-worthy skills for the first time since 2020's Nomadland (after the unfortunate detour into the MCU with Eternals). A story about love, loss, and grief involving William Shakespeare and his wife, Agnes, the film is most notable for the performances of its two leads, Jessie Buckley (nominated for Best Actress) and Paul Mescal.

    Marty Supreme
    There was no other movie this year, or maybe even this century, like Marty Supreme. Directed and co-written by Josh Safdie (nominated for Best Director and Best Original Screenplay alongside co-writer Ronald Bronstein), the film is an almost continuous blast of pure energy for 2 ½ hours. So many different things happen over the course of the film that the story defies conventional narratives. At its center is the fast-talking, powerhouse performance by star Timothée Chalamet (nominated for Best Actor), who cements his status as his generation’s movie star one year after playing the polar opposite role of Bob Dylan in A Complete Unknown. Look for the film to be a strong contender in the inaugural Best Casting category, as Safdie fills the film with non-actors who are crucial to the film's success.

    One Battle After Another
    Writer/director Paul Thomas Anderson (nominated for Best Director and Best Adapted Screenplay) has an acclaimed career going back 30 years, but has yet to actually win an Oscar. That will change this year, as One Battle After Another is one of the favorites to win Best Picture thanks to Anderson's stellar filmmaking, as well as multiple great performances that earned the film four acting nominations (Leonardo DiCaprio for Best Actor, Teyana Taylor for Best Supporting Actress, and Benicio Del Toro and Sean Penn for Best Supporting Actor). Add in a story with a very timely political critique (that's getting more relevant by the day) and you have the recipe for a big winner on Oscar night.

    The Secret Agent (not reviewed)
    No foreign country has quite the influence on the Oscars as Brazil, which for the second straight year has gotten one of its films nominated for both Best International Feature Film and Best Picture. Written and directed by Kleber Mendonça Filho, the film is anchored by the performance of Wagner Moura (nominated for Best Actor) as a technology expert in the late 1970s who flees from a mysterious past to try to find peace in his hometown.

    Sentimental Value (not reviewed)
    For the third year in a row, two international films made the cut in the Best Picture race (but whither It Was Just an Accident?). Directed and co-written by Joachim Trier (nominated for Best Director and Best Original Screenplay alongside co-writer Eskil Vogt), the film is tied for the most acting nominations this year, earning nods for Renate Reinsve for Best Actress, Elle Fanning and Inga Ibsdotter Lilleaas for Best Supporting Actress, and Stellan Skarsgård for Best Supporting Actor.

    Sinners
    It takes a special kind of filmmaker to make movies that are both popular and Oscar-worthy, and writer/director Ryan Coogler (nominated for Best Director and Best Original Screenplay) has done it again, seven years after helming the Oscar-winning Black Panther. Both a tribute to Black music history and a gnarly vampire movie, the film is led by Michael B. Jordan (nominated for Best Actor) in dual roles as twins Smoke and Stack. With a story infused with all manner of subtext and a bunch of great supporting performances, including Best Supporting Actress nominee Wunmi Mosaku, the film demonstrates Coogler's great filmmaking abilities that should keep him in demand for years to come. Amazingly, there was only one category for which it was eligible in which it did not receive a nomination.

    Train Dreams (not reviewed)
    The second Netflix movie this year to be nominated, Train Dreams is a contemplative film about a logger (played by Joel Edgerton) in early 20th century America who tries to adapt to a rapidly-changing world. Nominated for Best Adapted Screenplay for the script by director Clint Bentley and co-writer Greg Kwedar, the film is most notable for the work done by Adolpho Veloso (nominated for Best Cinematography), who showcases the Pacific Northwest in all its glory.

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